Trip-Hop

Amelia’s Magazine | Malachai – Ugly Side Of Love – Album Review

by


Do you remember Woodstock? It’s said that, page if you were there, you shouldn’t. Something like six million more people claim to have been there than actually were, if I remember rightly – I’m not sure. A number somewhere in that region, I imagine. Can’t be bothered to check exactly, and Malachai probably wouldn’t either, so I’m acquiescing to their style. Ugly Side Of Love is a rough-hewn 60s throwback that sounds like (what I imagine) what waking up at Woodstock on the final morning felt. I say waking up, I mean coming up with the dawn as Jefferson Airplane stumbled through their set at around 8am, Grace Slick’s voice distorted by many things more than just the distance and the tent canopy and a whole bunch of reverb. Malachai have managed to make an album that is, no word of a lie, entirely summed up in the album cover. Just look at that blue-smoke psychedelic vision (capturing the sound of blue smoke is a terrific achievement, it must be said), those terrible eyes, those colours. Just look at them. Wow.

Malachai are one of those extremely loud duos, a couple of guys who sound like a whole bunch of pissed-off bastards making deliberate noise. They’re from Bristol and have been championed by Geoff Barrow of Portishead, and that makes a lot of sense by the 1:30 mark on opener ‘Warriors’. I say this because they’ve reminded me just how limited, how narrow-minded, most of the current ‘alternative’ music I’ve been listening to is – I may wax lyrical on ‘breadth of influence’ or some similar critically pretentious descriptor, something that is essentially just a re-hashing of ‘they’ve got horns/strings/lots of members/synths’, but we’re talking about bands who pretty much listen to nothing outside of a narrow range of post-punk, 80s indie, 90s indie, and a few token world acts (or possibly just Paul Simon) for good measure.

Malachai – coming from a city that is arguably most famous these days for being something of a hippie outpost, a place spoken of with reverence by those who are really into their psychedelics yet find procuring them a frustrating experience – don’t exactly keep their cards close to their chest, revealing themselves as dedicated acolytes of this intoxicant culture. Ugly Side Of Love reminds me intensely of the (occasionally maligned) Magical Mystery Tour EP by The Beatles – a lot of people only listen to that soundtrack for I Am The Walrus and Strawberry Fields Forever and all those big hits, but there are a couple of instrumentals on there that are pretty, well, weird, even by the standards of the Beatles’ LSD phase. Lots of tape loops and odd psychedelic twinges, and that kind of attitude gets stretched here to something approaching the length of an LP. It’s even got the feel and texture of something you might expect served up by DJ Shadow, but it’s also undeniably a straight-up rock record – a strange combination, but one that clearly isn’t tried often enough if this is indicative of the potential in such experiments.

So we have the stoner-rock and garage-rock foundational stones, but adorned with the tricks and treats that can be found within Bristol’s various musical communities. Barrow’s influence, being producer and all, is evident, and certain tracks bear familial resemblances to Portishead’s trip-hop (‘Only For You’), but there’s also a fair bit of turntablism (‘Fading World’) and hip-hop sample play (‘Meeches Theme’). There are horns lifted straight out of the Arthur Lee playbook on ‘Lay Down Stay Down’, and dancehall drum patterns on ‘Only For You’. In fact, the only place where it’s nothing more than just a plain ol’ garage-rock record is on ‘Snowflake’, which could easily pass on any new Nuggets compilation.

Ugly Side Of Love is, as the name suggests, ugly. It’s all over the bloody place, but, by god, it’s wonderful for it. Every listen suggests new hooks, an extra level of depth that you’d never expect from music that’s usually something so simplistic. A lot of care has been paid here – this sloppiness, it’s intentional. Give it the attention it deserves.

Written by Ian Steadman on Wednesday April 7th, 2010 10:56 am

Categories ,Arthur Lee, ,Beatles, ,bristol, ,DJ Shadow, ,Garage-Rock, ,George Barrow, ,Hip-hop, ,ian steadman, ,Love, ,Magical Mystery Tour, ,Malachai, ,Portishead, ,Psychadelia, ,Psychadelic, ,the beatles, ,Trip-Hop, ,Ugly Side Of Love

Similar Posts:






Amelia’s Magazine | An interview with Nedry and review of new album In A Dim Light

by

Nedry by Abi Stevens
Nedry by Abi Stevens.

Nedry excel in a vocal electro dub step mash up genre all of their own. In A Dim Light opens languidly with the blissed out vocals of Ayu Okakita, whist behind builds the soundscape of alternating tensions that characterises this album. One of my favourite tunes comes next: the clattering beats and saws of Post Six providing a lushly chaotic backdrop to the melody. Havana Nights rattles and buzzes with sighing atmosphere, and across nearly 7 minutes Float explores the wonder of the universe. These are melodies to get lost in… sprawling with a danceable yet mellow musical intrigue. I spoke with Chris Amblin, Matt Parker and Ayu.

YouTube Preview ImagePost Six

You have been variously described as post-dubstep, dark electro-pop, leftfield and indie. You cross many genres, what do you think describes you best?
CHRIS: On record I’d like to think we carry on the tradition and attitude of early trip-hop, but with some modern twists: we really look up to bands like Portishead and Massive Attack. The post-dubstep tag has been quite handy, in that we initially aimed to blend our love of post-rock with dubstep and take that into a live setting, but since our first record, Condors, we’ve all further broadened our tastes and I think particularly in the live environment we’re a fusion of lots of flavours of dance music, with almost a rock band aesthetic. So I guess Modern-Trip-Hop works nicely!

Nedry
Where do find inspiration for the rhythmic structures of your music?
CHRIS: I’m not sure if it’s such a conscious thing, but due to the fairly long winded way that we make tunes the rhythm can change from version to version. Quite often I’ll make a quite simple drum track for a song and Matt will subtly change the hi-hat pattern or where the snare falls and totally change the feel of the rhythm, then Ayu will sing on the off-beat or something or put together a very rhythmic backing vocal and by that point it’s difficult to understand where the actual rhythm has come from.

Nedry music “clouded” by claire jones art
Clouded – Nedry by Claire Jones Art.

Short songs are not your forte, why do you prefer to create long tunes?
MATT: Well we have a few songs running under 5 minutes on our new album, a couple even verging on pop song length! We like making longer songs mostly because our music is all about creating mood and a sense of atmosphere and I believe you need to build a piece of music up to create that kind of vibe. 

Nedry album sleeve
Even though you create dance music you relish the act of recreating music live on stage, what can people expect of a Nedry gig?
CHRIS: The experience of playing live is very important to us so we put a lot of time and effort into making the performance of each song interesting and exciting for us and most importantly for the audience. We’re all keen gig goers and have seen some fantastic live performances and also awful ones so we often reflect on these experiences and try to better what we do and take on board the things we like and discard the things that we don’t. It’s important to me to make the live experience different to the album and things are definitely more upbeat and energetic and if we’re lucky with the sound system the beats are more powerful and the sub bass is deep.

Nedrymakesmusic by Fort Rixon
Nedrymakesmusic by Fort Rixon.

Your vocalist Ayu Okakita hails from Japan, how did you all get together?
AYU: I met Matt and Chris through the internet (myspace), I was living in East London then and we happened to be neighbours.

Nedry promotshoot - Abney Park
How do the three of you work together? How does a song come about and who brings what to the mix?
MATT: Every song is different and approached differently although there is a lot of file sharing online that goes on, passing Ableton sessions from one to another and working over the structure of a song. Ayu brings vocals to the mix (obviously) but she also contribute to melodies, piano playing, rhythmic and mood ideas. Myself and Chris work on everything and anything in between. Our creative process is really quite convoluted and it takes a long time to make a song feel right but I guess this is because as a band based solely in the electronic realm, it can be difficult to just get into a room and make something. Saying that though, a few of the tracks on the new album were created entirely in a live environment or at least born in that environment before being given the full studio treatment.

YouTube Preview ImageFloat (edit)

Last year you played SXSW for the first time, what was the highlight and did you get a good response?
CHRIS: It was easily the craziest and most intense week of being in this band, the sheer amount of people and bands performing that week is impossible to describe. There was an amazing build up before we traveled to Austin, starting in November the previous year with our label (Monotreme) receiving the invite for us to play and then all of us working together to make it happen. So we spent a lot of the week in a bit of a haze of joy and relief and jetlag! The highlight for me was after playing our showcase gig at Latitude 30, when a small group of young Texans found us loading out in the back alley and told us that they’d been following Nedry and were over the moon to see us play in the flesh – we chatted for a while and signed a copy of our CD for them. It meant a lot to us and was the best response we could have wished for.

Nedry Photo by Sebastien Dehesdin
What are you looking forward to most in 2012?
MATT: I think we’re looking forward to seeing how people react to our album. It’s been two years since our last release and the musical landscape has shifted a lot since then.

Nedry release In A Dim Light on 12th March 2012 on Monotreme Records.

Written by Amelia Gregory on Thursday January 19th, 2012 12:13 pm

Categories ,Abi Stevens, ,Ableton, ,Ayu Okakita, ,Chris Amblin, ,Claire Jones Art, ,Condors, ,dubstep, ,Electro Pop, ,Float, ,Fort Rixon, ,In A Dim Light, ,Indie, ,Latitude 30, ,leftfield, ,Massive Attack, ,Matt Parker, ,Monotreme, ,Nedry, ,Portishead, ,post-rock, ,Trip-Hop

Similar Posts:






Amelia’s Magazine | Interview with Laki Mera and review of new album The Proximity Effect

by

Laki Mera by Abi Lewis
Laki Mera by Abi Lewis.

The Proximity Effect is the second album from Glasgow based Laki Mera, order a band who excel in the creation of their own unique trip hop influenced sound. Focused around the luscious vocals of singer songwriter Laura Donnelly, the album moves sleekly between ambient textures and big folk inspired melodies, plucking the best from the electronic and acoustic worlds to create something utterly new. I caught up with the talented foursome: Laura Donnelly, Andrea Gobbi, Keir Long and Tim Harbinson.

laki-mera-The-proximity-packshot
How do you work together to create music as a foursome?
We write in a few, different ways… Some tunes start more as acoustic tunes written by Laura which are then arranged by the band as a whole – introducing beats and electronic feel. Some tunes start off as electronic ideas, from jams or individually from Andrea or Keir. At any stage of the process though, the collaboration between all of us is what creates the Laki Mera sound.

Laki Mera by Michelle Pegrume
Laki Mera by Michelle Pegrume.

Do you all bring different musical inspirations to the table – and if so what are they?
We have a really wide and varied bank of influences ranging from folk and acoustic music to minimal electronica. To list a few… Beck, Kraftwerk, Aphex Twin, Bjork, Radiohead, Datasette, Zombie Zombie, Bat for Lashes, Portishead, Massive Attack, Advisory Circle, Benny Greb… there is a lot of good music coming out of Scandinavia at the moment – Little Dragon, Efterklang, Lykke Li, Fever Ray…

Laki Mera by Evan Smith
Laki Mera by Evan Smith.

What brought Italian Andrea Gobbi to Scotland and what keeps you there? 
I travelled up from London in 2001 and instantly felt attracted by the Glasgow music scene… collaborations were born and I got deeper and deeper into both the indie and folk music scene, both as a musician and a producer engineer.

YouTube Preview ImageFool

Is there anything that you miss about Italy? 
I obviously miss my family and friends, but as far as music is concerned not very much at all, I’m afraid… I’m very happy in Scotland! 

Laki Mera night
What’s best about living in Scotland?
Definitely not the food!

Laki Mera by Dan Lester
Laki Mera by Dan Lester.

The Proximity Effect is named for a studio technique – what does it mean and how was it used in the making of the album?
Our album The Proximity Effect was named after the interesting combination of the audio technical term ‘proximity effect‘ and the philosophical meaning behind how people react when in the proximity of other people, how people interact in the proximity of each other and how important these connections are. The actual meaning of the technical term proximity effect… well, it is simply a way to describe how microphones react to the relative closeness of the sound source you are recording… say for instance how a softly spoken lyric would come through when spoken directly into a microphone (i.e. with your lips touching it). 

Laki Mera by Sarah Jayne Morris
Laki Mera by Sarah Jayne Morris.

I haven’t heard the first album, how does the new one differ? 
The first album was a production which took several years, during which studio electronic music experiment and song-writing took their time to develop! The outcome was a very deep-layered production with a much calmer and reflective feel about it. The Proximity Effect still has moments of pause and reflection but it’s a much more direct record, based around tracks that were born playing live rather than in the studio… Most of the electronic music production on this album was inspired by the tracks and not vice versa. 

Laki Mera
How do you ensure that you retain an organic feel to the music when applying so many electronic textures?
Retaining an organic feel to the music is very important to us as we are well aware that electronic music can become too sterile and repetitive if not handled properly. We have a good mix of acoustic and electronic elements to the band and when working on the electronic arrangement we use many analog synths such as Korg Sigma, Korg MS10, Roland Juno 106. We also create our own sounds from samples of real sounds. Also, when playing live we ‘play’ everything rather than relying on pre-recorded loops as so many electronic acts do. This is more fun (if a little tricky sometimes) for us and more interesting for an audience to watch.

Laki Mera by Joana Faria
Laki Mera by Joana Faria.

You recorded some of the new album’s songs in turf house in a small Highland village – what lay behind the decision to decamp? 
We recognised that there was a bit of a difference between the tunes on the album and we wanted to embrace this. We made the decision to spend a week in a remote part of the Highlands to concentrate on the more acoustic, song-like tunes on the album. We felt that the hustle and bustle of our city studio did not provide the right kind of environment to properly capture the more sensitive feel of tunes such as Reverberation, Double Back and Solstice. We needed somewhere with a more quiet feel and a slower pace. 

YouTube Preview ImagePollok Park

Does living in Glasgow influence the sound of the music?
Glasgow has always been a very musical city and I think that’s partly why we have all been drawn there. With its long, dark winters and brooding, grey skies it definitely lends itself well to writing dark, introverted tunes!

Laki Mera laura donnelly
What else does everyone do when you’re not involved in Laki Mera?
Andrea & Keir are both sound engineers, Keir is also a piano teacher. Laura works on graphic design and art projects and Tim has recently completed a masters in Social Ecology.

Have you got any collaborations in the pipeline? 
We’re working on it, so watch this space…

YouTube Preview ImageOnion Machine

The Proximity Effect is out now on Just Music.

Written by Amelia Gregory on Wednesday September 7th, 2011 5:30 pm

Categories ,Abi Lewis, ,acoustic, ,Advisory Circle, ,Andrea Gobbi, ,Aphex Twin, ,Bat for Lashes, ,Beck, ,Benny Greb, ,bjork, ,Dan Lester, ,Datasette, ,Double Back, ,efterklang, ,Electonica, ,Evan Smith, ,Fever Ray, ,folk, ,Fool, ,glasgow, ,Highlands, ,Joana Faria, ,Just Music, ,Keir Long, ,Korg MS10, ,Korg Sigma, ,Kraftwerk, ,Laki Mera, ,Laura Donnelly, ,Little Dragon, ,Lykke Li, ,Massive Attack, ,Michelle Pegrume, ,Onion Machine, ,Pollok Park, ,Portishead, ,radiohead, ,Reverberation, ,Roland Juno 106, ,Sarah Jayne Morris, ,Sarah-Jayne, ,Scottish, ,Social Ecology, ,Solstice, ,Tim Harbinson, ,Trip-Hop, ,Zombie Zombie

Similar Posts:






Amelia’s Magazine | An interview with Nedry and review of new album In A Dim Light

by

Nedry by Abi Stevens
Nedry by Abi Stevens.

Nedry excel in a vocal electro dub step mash up genre all of their own. In A Dim Light opens languidly with the blissed out vocals of Ayu Okakita, whist behind builds the soundscape of alternating tensions that characterises this album. One of my favourite tunes comes next: the clattering beats and saws of Post Six providing a lushly chaotic backdrop to the melody. Havana Nights rattles and buzzes with sighing atmosphere, and across nearly 7 minutes Float explores the wonder of the universe. These are melodies to get lost in… sprawling with a danceable yet mellow musical intrigue. I spoke with Chris Amblin, Matt Parker and Ayu.

YouTube Preview ImagePost Six

You have been variously described as post-dubstep, dark electro-pop, leftfield and indie. You cross many genres, what do you think describes you best?
CHRIS: On record I’d like to think we carry on the tradition and attitude of early trip-hop, but with some modern twists: we really look up to bands like Portishead and Massive Attack. The post-dubstep tag has been quite handy, in that we initially aimed to blend our love of post-rock with dubstep and take that into a live setting, but since our first record, Condors, we’ve all further broadened our tastes and I think particularly in the live environment we’re a fusion of lots of flavours of dance music, with almost a rock band aesthetic. So I guess Modern-Trip-Hop works nicely!

Nedry
Where do find inspiration for the rhythmic structures of your music?
CHRIS: I’m not sure if it’s such a conscious thing, but due to the fairly long winded way that we make tunes the rhythm can change from version to version. Quite often I’ll make a quite simple drum track for a song and Matt will subtly change the hi-hat pattern or where the snare falls and totally change the feel of the rhythm, then Ayu will sing on the off-beat or something or put together a very rhythmic backing vocal and by that point it’s difficult to understand where the actual rhythm has come from.

Nedry music “clouded” by claire jones art
Clouded – Nedry by Claire Jones Art.

Short songs are not your forte, why do you prefer to create long tunes?
MATT: Well we have a few songs running under 5 minutes on our new album, a couple even verging on pop song length! We like making longer songs mostly because our music is all about creating mood and a sense of atmosphere and I believe you need to build a piece of music up to create that kind of vibe. 

Nedry album sleeve
Even though you create dance music you relish the act of recreating music live on stage, what can people expect of a Nedry gig?
CHRIS: The experience of playing live is very important to us so we put a lot of time and effort into making the performance of each song interesting and exciting for us and most importantly for the audience. We’re all keen gig goers and have seen some fantastic live performances and also awful ones so we often reflect on these experiences and try to better what we do and take on board the things we like and discard the things that we don’t. It’s important to me to make the live experience different to the album and things are definitely more upbeat and energetic and if we’re lucky with the sound system the beats are more powerful and the sub bass is deep.

Nedrymakesmusic by Fort Rixon
Nedrymakesmusic by Fort Rixon.

Your vocalist Ayu Okakita hails from Japan, how did you all get together?
AYU: I met Matt and Chris through the internet (myspace), I was living in East London then and we happened to be neighbours.

Nedry promotshoot - Abney Park
How do the three of you work together? How does a song come about and who brings what to the mix?
MATT: Every song is different and approached differently although there is a lot of file sharing online that goes on, passing Ableton sessions from one to another and working over the structure of a song. Ayu brings vocals to the mix (obviously) but she also contribute to melodies, piano playing, rhythmic and mood ideas. Myself and Chris work on everything and anything in between. Our creative process is really quite convoluted and it takes a long time to make a song feel right but I guess this is because as a band based solely in the electronic realm, it can be difficult to just get into a room and make something. Saying that though, a few of the tracks on the new album were created entirely in a live environment or at least born in that environment before being given the full studio treatment.

YouTube Preview ImageFloat (edit)

Last year you played SXSW for the first time, what was the highlight and did you get a good response?
CHRIS: It was easily the craziest and most intense week of being in this band, the sheer amount of people and bands performing that week is impossible to describe. There was an amazing build up before we traveled to Austin, starting in November the previous year with our label (Monotreme) receiving the invite for us to play and then all of us working together to make it happen. So we spent a lot of the week in a bit of a haze of joy and relief and jetlag! The highlight for me was after playing our showcase gig at Latitude 30, when a small group of young Texans found us loading out in the back alley and told us that they’d been following Nedry and were over the moon to see us play in the flesh – we chatted for a while and signed a copy of our CD for them. It meant a lot to us and was the best response we could have wished for.

Nedry Photo by Sebastien Dehesdin
What are you looking forward to most in 2012?
MATT: I think we’re looking forward to seeing how people react to our album. It’s been two years since our last release and the musical landscape has shifted a lot since then.

Nedry release In A Dim Light on 12th March 2012 on Monotreme Records.

Written by Amelia Gregory on Thursday January 19th, 2012 12:13 pm

Categories ,Abi Stevens, ,Ableton, ,Ayu Okakita, ,Chris Amblin, ,Claire Jones Art, ,Condors, ,dubstep, ,Electro Pop, ,Float, ,Fort Rixon, ,In A Dim Light, ,Indie, ,Latitude 30, ,leftfield, ,Massive Attack, ,Matt Parker, ,Monotreme, ,Nedry, ,Portishead, ,post-rock, ,Trip-Hop

Similar Posts:






Amelia’s Magazine | Interview with Laki Mera and review of new album The Proximity Effect

by

Laki Mera by Abi Lewis
Laki Mera by Abi Lewis.

The Proximity Effect is the second album from Glasgow based Laki Mera, order a band who excel in the creation of their own unique trip hop influenced sound. Focused around the luscious vocals of singer songwriter Laura Donnelly, the album moves sleekly between ambient textures and big folk inspired melodies, plucking the best from the electronic and acoustic worlds to create something utterly new. I caught up with the talented foursome: Laura Donnelly, Andrea Gobbi, Keir Long and Tim Harbinson.

laki-mera-The-proximity-packshot
How do you work together to create music as a foursome?
We write in a few, different ways… Some tunes start more as acoustic tunes written by Laura which are then arranged by the band as a whole – introducing beats and electronic feel. Some tunes start off as electronic ideas, from jams or individually from Andrea or Keir. At any stage of the process though, the collaboration between all of us is what creates the Laki Mera sound.

Laki Mera by Michelle Pegrume
Laki Mera by Michelle Pegrume.

Do you all bring different musical inspirations to the table – and if so what are they?
We have a really wide and varied bank of influences ranging from folk and acoustic music to minimal electronica. To list a few… Beck, Kraftwerk, Aphex Twin, Bjork, Radiohead, Datasette, Zombie Zombie, Bat for Lashes, Portishead, Massive Attack, Advisory Circle, Benny Greb… there is a lot of good music coming out of Scandinavia at the moment – Little Dragon, Efterklang, Lykke Li, Fever Ray…

Laki Mera by Evan Smith
Laki Mera by Evan Smith.

What brought Italian Andrea Gobbi to Scotland and what keeps you there? 
I travelled up from London in 2001 and instantly felt attracted by the Glasgow music scene… collaborations were born and I got deeper and deeper into both the indie and folk music scene, both as a musician and a producer engineer.

YouTube Preview ImageFool

Is there anything that you miss about Italy? 
I obviously miss my family and friends, but as far as music is concerned not very much at all, I’m afraid… I’m very happy in Scotland! 

Laki Mera night
What’s best about living in Scotland?
Definitely not the food!

Laki Mera by Dan Lester
Laki Mera by Dan Lester.

The Proximity Effect is named for a studio technique – what does it mean and how was it used in the making of the album?
Our album The Proximity Effect was named after the interesting combination of the audio technical term ‘proximity effect‘ and the philosophical meaning behind how people react when in the proximity of other people, how people interact in the proximity of each other and how important these connections are. The actual meaning of the technical term proximity effect… well, it is simply a way to describe how microphones react to the relative closeness of the sound source you are recording… say for instance how a softly spoken lyric would come through when spoken directly into a microphone (i.e. with your lips touching it). 

Laki Mera by Sarah Jayne Morris
Laki Mera by Sarah Jayne Morris.

I haven’t heard the first album, how does the new one differ? 
The first album was a production which took several years, during which studio electronic music experiment and song-writing took their time to develop! The outcome was a very deep-layered production with a much calmer and reflective feel about it. The Proximity Effect still has moments of pause and reflection but it’s a much more direct record, based around tracks that were born playing live rather than in the studio… Most of the electronic music production on this album was inspired by the tracks and not vice versa. 

Laki Mera
How do you ensure that you retain an organic feel to the music when applying so many electronic textures?
Retaining an organic feel to the music is very important to us as we are well aware that electronic music can become too sterile and repetitive if not handled properly. We have a good mix of acoustic and electronic elements to the band and when working on the electronic arrangement we use many analog synths such as Korg Sigma, Korg MS10, Roland Juno 106. We also create our own sounds from samples of real sounds. Also, when playing live we ‘play’ everything rather than relying on pre-recorded loops as so many electronic acts do. This is more fun (if a little tricky sometimes) for us and more interesting for an audience to watch.

Laki Mera by Joana Faria
Laki Mera by Joana Faria.

You recorded some of the new album’s songs in turf house in a small Highland village – what lay behind the decision to decamp? 
We recognised that there was a bit of a difference between the tunes on the album and we wanted to embrace this. We made the decision to spend a week in a remote part of the Highlands to concentrate on the more acoustic, song-like tunes on the album. We felt that the hustle and bustle of our city studio did not provide the right kind of environment to properly capture the more sensitive feel of tunes such as Reverberation, Double Back and Solstice. We needed somewhere with a more quiet feel and a slower pace. 

YouTube Preview ImagePollok Park

Does living in Glasgow influence the sound of the music?
Glasgow has always been a very musical city and I think that’s partly why we have all been drawn there. With its long, dark winters and brooding, grey skies it definitely lends itself well to writing dark, introverted tunes!

Laki Mera laura donnelly
What else does everyone do when you’re not involved in Laki Mera?
Andrea & Keir are both sound engineers, Keir is also a piano teacher. Laura works on graphic design and art projects and Tim has recently completed a masters in Social Ecology.

Have you got any collaborations in the pipeline? 
We’re working on it, so watch this space…

YouTube Preview ImageOnion Machine

The Proximity Effect is out now on Just Music.

Written by Amelia Gregory on Wednesday September 7th, 2011 5:30 pm

Categories ,Abi Lewis, ,acoustic, ,Advisory Circle, ,Andrea Gobbi, ,Aphex Twin, ,Bat for Lashes, ,Beck, ,Benny Greb, ,bjork, ,Dan Lester, ,Datasette, ,Double Back, ,efterklang, ,Electonica, ,Evan Smith, ,Fever Ray, ,folk, ,Fool, ,glasgow, ,Highlands, ,Joana Faria, ,Just Music, ,Keir Long, ,Korg MS10, ,Korg Sigma, ,Kraftwerk, ,Laki Mera, ,Laura Donnelly, ,Little Dragon, ,Lykke Li, ,Massive Attack, ,Michelle Pegrume, ,Onion Machine, ,Pollok Park, ,Portishead, ,radiohead, ,Reverberation, ,Roland Juno 106, ,Sarah Jayne Morris, ,Sarah-Jayne, ,Scottish, ,Social Ecology, ,Solstice, ,Tim Harbinson, ,Trip-Hop, ,Zombie Zombie

Similar Posts: